Viewing an exhibition of civil war paintings in 1886, Lea Barakat wrote that her “country came to mind: the splendor of its ruins, the wonders of their form like the fortress of Baalbek, the ruins of Palmyra, and the scenes of Lebanon…” Native women should paint like this, she states, and “not leave a scene [of Lebanon] unpainted… They can decorate the rooms of their homes and sitting rooms with these pictures…” She concludes that “since the ladies of our country are smarter and more industrious in their handcrafts than [American] ladies,” they too can obtain a similar level of “wealth, honorable work, admiration of the masses, and praise for the virtue of their [arts and crafts]. This study is a prolegomenon to examining the topography of visual culture and modernity to which Barakat alludes. Rather than painting, this article focuses on photography produced by Arabs during the late Ottoman and early Mandate periods in Lebanon. Less concerned with using photographs to document social transformations, this study theorizes how production and deployment of the photographic image played a part in the conceptualization of a bourgeois individualist subjectivity in Lebanon, which is claimed not to exist in the Arab world.